#its supposed to be like

[evilherehotel]

ok heres my apology for fireafy movie posting. no more fireafy movie

freesmart is evil leafy’s #1 opp for the entire length of the competition. she tries to stay out of their drama (especially around bfdia 12-14 when the huge woah bunch/freesmart rivalry starts) but she cant help wanting to kill and murder them

theyre also just mean to her. they went from being scared of her to purposefully provoking/antagonizing her because it could keep her from becoming too close to people and even draw the ire of the viewers and get her out of the game.

the majority of her hatred is pointed at pencil, but she’s attacked book the most. her team has a tendency to leave her behind which makes her an easy target

at this point book is used to it.

[ami2kewl]

thinking of you!!!

[streetlightgoblin]

Odysseus and athena! (A very serious little owl)

Oh if only they knew where they were headed :3

[poorly-drawn-mdzs]

Penelope's final gambit, you will always be famous, no matter the subtext.

[squidpedia]

9. 99. 999. 9999.

pretend like i did post this on the anniversary, you just didn’t see this until now, youre the one thats late not me

[mynnthia]

was talking with a friend about how some of dunmeshi fаndom misunderstands kabru's initial feelings towards laios.

to sum up kabru's situation via a self-contained modernized metaphor:

kabru is like a guy who lost his entire family in a highly traumatic car accident. years later he joins a discord server and takes note of laios, another server member who seems interesting, so they start chatting. then laios reveals his special interest and favorite movie of all time is David Cronenberg's Crash (1996), and invites kabru to go watch a demolition derby with him

[mochasucculent]

Was looking at refs and since Viktor has two different leg braces I was wondering, do we think he wears them simultaneously?? The refs don't perfectly line up perspective-wise so it's hard to tell but parts of the one he wears during the Hexcore scenes look like they could maybe line up with the brace that he wears over his clothes, but also some parts really don't and look like they'd be super uncomfy. Also HOW does he take these on and off. Experts weigh in

[mroddmod]

everyone be quiet i'm manifesting

[housederiva]

Dragon Age romance icons: Origins, 2, Inquisition, Veilguard

[catmask]

does anyone have like an anti aesthetic. like something you look at and can recognize as a complete fashion/interior design/artistic movement and understand it but it makes you shudder seeing it. i am not talking like “its morally bad” “its poorly structured” like just sheerly devoid of joy for you actually invites a repulse response.

[fraternum-momentum]

Lace and Leather.

[xxplastic-cubexx]

obligatory beach divorce doodling

bonus rough cover redraw of x-men #41 (1995) But Beach Divorce below cut

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[joshuamj]

Hero.

[queeniewithabeanie]

The Baby Bat and his Mentor

Dpxdc Prompt #13

"Train me."

"No."

Danny didn't know why or how this kid had found him, but he most certainly did not want to train him to become a vigilante and then die on the job.

"Train me."

"No."

The kid obviously had some sort of formal training in martial arts. There was a certain way the shadows clung to him that made him seem... experienced even though he most certainly was not. He was definitely determined enough to become a teenage vigilante if not given proper guidance.

"Train me."

"Fine! But we're doing it my way kid. What's your name?"

"I am Bruce Wayne."

"First rule of the job kid, when someone asks your name and you are presenting yourself in your vigilante identity you give them a vigilante name. You do not want overlap, keep the identities separate."

Even if Wes was the only one to figure it out, Danny Fenton and Danny Phantom had a lot of similarities he had to weed out as he realized how dangerous they were to his livelihood. The only reason he wasn't immediately found out by everyone including his parents was that Danny Phantom was dead and Danny Fenton was not.

Bruce would not have that same luxury and would need to thoroughly separate himself from his vigilante persona.

"Now again, what is your name?"

"..."

"Don't got all day kid."

"I am... Batman."

This was clearly an important moment for the kid, but it took everything Danny had to not laugh at him in that moment. The way he tried to growl out his codename would have been intimidating, if not for the voice crack accompanying it.

"Alright then Batsy, rule number two is no vigilante-ing 'til you're 20. Teenage vigilantes get killed and make dumb mistakes, I should know."

"Wha- No! I need to protect Gotham, I can't wait 4 more years to do that!"

It's the first time he had heard any lilt to his voice and it was clear that he felt strongly about this matter, but Danny wouldn't budge.

"Nope, you wait 'til the teen gets out of your age or I don't train you. And rule number three, which is kind of an extension of rule number one, don't give out any personal information in your vigilante identity. I know you're 16 now, and I wasn't even attempting to extract info from you."

The kid made a growling sound again, but it felt more like a puppy dog yip to Danny, actually reminded him of Cujo a bit.

"Fine..." He forced out, realizing that Danny was not going to move an inch and that Bruce did have a lot to learn from him. He'd already been taught three things he hadn't considered in the past five minutes.

"Good, training starts tomorrow Baby Bat, meet at Nasty Burger, come in civies."

Bonus! Bruce: tries to make dick, a nine year old, wait til he's 20 to go out into the streets of gotham like danny did to him Also Bruce: can't even get him to wait til he's ten Danny: i don't know where, but my bruce-is-doing-something-stupid-and-potentially-harmful-sense is tingling and i don't like it!

[puppppppppy]

renaissance dogys

characters belong to @canisalbus